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![]() "To this day, Ozzy thinks I fired him on my own, when it was really the other two who wanted him out. Mixing the album even caused my marriage to break up. My wife kept asking, ‘How come you’re the only one working while everyone is in bloody Barbados?’ ” Heaven and Hell (1980) As with Technical Ecstasy, everyone went on a holiday when it came time to mix. ![]() “Getting back together with Ronnie James Dio was a little rough in the beginning – there were all kinds of egos bouncing around. We had been separated for 10 years, and it took us a long time to get to know each other again. “Tony Martin had been our singer for the last three albums, and I must admit, I did feel bad that we had to let him go. He was getting more into writing for other people instead of performing Sabbath material. He understood the situation with Ronnie, so it really wasn’t a problem. ![]() “Before we started writing Dehumanizer, we talked about what we wanted. We decided to make a very heavy Black Sabbath record that had a real natural sound and a ton of doomy riffs – nothing too jolly. “The material is sort of a cross between the old stuff and Heaven and Hell. It has a raunchy sound – something I think has been missing from Sabbath over the last few years. This is very much a classic Black Sabbath record.One of these is the caution I often display when first listening to new or changed personnel in pivotal roles in bands I really like. Like Black Sabbath that isn’t Ozzy, Tony, Geezer and Bill. I’ve spoken about this in my ‘Cross Purposes’ review here, so won’t get into this again unless coaxed. When ‘Dehumanizer’ was released in 1992, I also didn’t quite get it. Often with the personnel changes also come stylistic changes, and this change (technically a reformation, but that’s not important for now) seemed odd. No actual mid-range work to give the bass drone and treble pitches their place. The version of this album I got was the 2011 re-issue with the bonus disc of live material from that era. They seem to take the awkward edge off the studio work and add just the right amount of cohesion to generate a suitable amount of appreciation from me for them. This has enabled me to listen to the original album with a slightly changed aural attitude. The album still doesn’t flow well, but I haven’t tried changing the track order to make it work better yet. Geezer Butler’s bass is as doom-ridden and active as it is at his best. Relaxed and flowing, but with a little grit replacing the high end of his ‘Mob Rules’-era soar. If you haven't already, take the classname of your slide, and put it as the resource attributeĬhange the onButtonClick to use the slide function of the XM8.The slight let-down is Vinny Appice’s drum sound. If you modified XM8_App05_Button, the appID would be "App05"įinally, add a title. This is what will appears at the top of the XM8 when it's opened. Identify which app this class belongs to by filling out the appID. This is just "App" with the number of the button. i.e. RscText -> RscExileXM8TextĪssign the appropriate IDCs to your classes, giving the Slide class a unique IDC.Ĭreate a new class in CfgXM8, and give it a nameĪssign the controlID, the unique IDC tied to the slide class of your resource Create a new slide, using one of the current ones as a template and paste the export into the controls class.Ĭhange the inheritance of the classes to use the XM8 resource classes if you would like. In the mission config.cpp, under the XM8_App buttons, you will see the other XM8 slides. ![]() Give names to your elements and export the GUI as "Config (controls as class)" Resource Creation (Only necessary if you would like a GUI.)Ĭreate the GUI you want, remembering that you have boundaries of the XM8. This can be blank if you do not have any GUI.
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